“See For Me” (*** out of four) was a cleverly done thriller about a blind housesitter (Skyler Davenport) whose mansion she is watching is broken into by three thieves and she frantically calls 911 and her only way of sight is an emergency dispatcher (Jessica Parker Kennedy) who tries to guide her via video-phone as they both try to defeat the thieves and survive the night. Yet another home-invasion story in the vein of “Desperate Hours” and “Wait Until Dark” but this one is a definite cut above the pack; well-paced and stylishly staged and held together by strong acting across the board. No classic but a small winner all around and well-worth “seeing.”

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“Rucker (The Trucker)” (* out of four) was an unbearable horror thriller about a redneck truck-driver (Bobby C. King) who attempts to reconnect with his family by torturing and killing women who remind him of his ex-wife; while on the road he picks up a companion (Cheyenna Lee) who joins him on his killing spree and also while she’s at it films him for her documentary! Who the hell comes up with stories like these and then actually films them? Film suggests a “Dexter” episode gone terribly wrong. King does what he can in the lead but otherwise you’ve been warned.

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“Night At The Eagle Inn” (*1/2 out of four) was a maddening horror melodrama about two fraternal twins (Amelia Dudley and Taylor Turner) who stay a night at the remote inn that their father disappeared from years earlier but soon find that they might not survive the night as their safety and sanity is soon pushed to the brink. Initially plodding and aloof but gradually becomes irritating and over-the-top as writer/director Erik Bloomquist tries too hard to enliven the proceedings to no avail. Yet another “Shining” imitation that doesn’t even come close. Thomson Nguyen’s chilling cinematography adds some style but don’t even think about staying in this “Inn.”

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“Castle Falls” (** out of four) was a serviceable action potboiler about various underworld figures (Scott Hunter, Kim Delonghi, Dave Halls, and others) and a prison guard (Dolph Lundgren who also directed) who descend on a luxury condominium to find millions of dollars but have to first deal with the hard-nosed janitor (Scott Adkins) who found the loot first as every man is out for himself. Moves reasonably quick on its feet and features enough action for fans but gradually devolves into too much murk. Lundgren proves to be a capable action director and actually gets one of his better performances out of himself in this one.

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“The Unforgivable” (*** out of four) was a harrowing melodrama about a woman (Sandra Bullock) released from prison after decades for a murder and tries to put the pieces of her life back together but finds this is hard as society will simply not allow her to move on as she encounters difficulties with jobs, housing, etc. A powerful story of a woman trying to put her life back together and the resistance she encounters; Bullock is strong in a role definitely against type. Unfortunately, story loses some of its potency by throwing in some unconvincing story elements and characters and going on too long but is still definitely worthwhile.

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“Aileen Wuornos: American Boogeywoman” (** out of four) was a superficial biography of one of the most notorious female serial killers ever set in 1976 showing her (Peyton List) as she arrives in Florida and marries a wealthy older man (Tobin Bell) and moves into high society but is unable to leave her murderous impulses behind her. Film doesn’t tell you much about her you don’t intuitively know and is patted out into the context of a standard film biography. ‘70’s detail impressive and List tries in the lead but is unable to enrich the material. Bell is good in an unusual role but he seems to be just killing time until he plays Jigsaw again

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“The Last Son” (*1/2 out of four) was a leaden Western about an outlaw (Sam Worthington looking a lot like Fred Durst) who attempts to evade capture and end his evil family line while others (Thomas Jane, Heather Graham) try to help him and bring him in. Latest in a long line of Westerns is molasses-moving and overly familiar with barely enough plot to keep it afloat. Hopefully this is “the last” Western for a while unless Clint Eastwood wants to return to the genre.

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“Jekyll And Hyde” (*1/2 out of four) was a lackluster melodrama set in 50’s London in which a determined lawyer (Tom Hendryk) begins investigating his close friend Dr. Henry Jekyll (Michael McKell) who is accused of a horrific murder and begins to suspect that there may be more to this than meets the eye which blurs the terrifying line between reality and fantasy. Umpteenth retelling of Robert Louis Stephenson’s classic story is stuffy and inert. Hide away from this wooden timewaster and watch the classic 1931 version instead.

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“Code Of Silence” (** out of four) was a stilted underworld melodrama set in ’60’s London in which The Krays (both played by Ronan Summers) were in full-power and terror over other mob organizations and businesses but one hard-nosed detective (Stephen Moyer) sought to bring them down leading to a bloodbath of ruthless double-crosses and dealings. Reasonably well-acted but never jumpstarts and seems all-too-familiar and derivative to carry sufficient charge. By now, there have been so many movies about The Krays and their reign of control that their subject matter just doesn’t inspire the craze that it used to.

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“American Siege” (*1/2 out of four) was an American dud about a grizzled small-town sheriff (Bruce Willis) who battles a gang of thieves (led by Timothy Murphy) once they take a wealthy doctor (Cullen G. Chambers) hostage and threaten the town but he soon finds there might be more to their motives and underlying reasons than meets the eye. Substandard Willis actioner in which he sleepwalks and picks up another easy DVD check; would it kill him at this point to pick an action movie with some style and originality? Some of the Georgia scenery is pretty but this is still pretty much a “siege” to make it through.

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